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Question 1 - IN WHAT WAYS DOES
YOUR MEDIA PRODUCT USE,
DEVELOP OR CHALLENGE FORMS
AND CONVENTIONS OF REAL
MEDIA PRODUCTS?
By Holly Morsley
Introduction
• The media products that I produced during this
project is a music video for “Grace Kelly” by Mika,
as well as creating appropriate branding by
developing a CD digipak and a magazine advert to
promote the product. In order to produce a
professional, yet unique product, it was vital that
some codes and conventions of the genre were
both adhered to and challenged. To see how my
product achieve this, I will be comparing it to
three similar media texts: the advert and digipak
for Little Mix – Glory Days album and the music
video for the song Touch by Little Mix
MUSIC VIDEO
SEXUALISATIONWhen it came to sexualisation, it was imperative that I did not
sexualise either gender in any way as the point of the video
was to challenge some of the common tropes of the pop
genre. Mise-en-scene was the most important aspect in
ensuring that this convention was challenged. The costumes
for both the male and female actors kept their dignity and
allowed them to look attractive while keeping them neutral.
One aspect of the costume’s that may be seen as sexualising is
the lipstick worn by the female artist. The colour red often has
connotations of passion and sexuality; the boldness also draws
attention to her lips. However this aspect of the costume was
supposed to emulate the style commonly associated by Grace
Kelly . The gestures of the actors made in the music video aim
to be extravagant and over-the-top, as one of the themes of
the song was drama and performance, rather than being
provocative. Nevertheless, the male actor did portray some
flirtation by winking at the camera during the video , however
this was more for flamboyance rather than sexualisation. This
contrasts other media products that contain much more
sexualisation, such as the video for Touch which employs
skimpy outfits and erotic dance moves to convey the theme of
sex. It must be noted that this is more prominent due to the
overall theme of the song rather than the genre itself.
BRIGHT COLOURS
Involving bright colours was something that,
which initially was never intended to be in the
product, was employed predominantly within
the piece. Mise-en-scene was one of the
methods that helped involve this feature,
mainly props and setting. The gay pride flag
allowed for bright colours to be featured within
the product while also showing the artist’s
support for social movements, which would
ultimately improve their public image. It was
also used as a costume for the same reasons.
Within editing, bright colours were employed
as a form of overlay to link with the lyrics (“I
could be brown, I could be blue”) and also
creating an upbeat feel to the music video. One
might argue that, because the colours are
somewhat toned down by the overlay, it is still
present. This was used in the video for Touch
also, with the setting containing bright purples
and pinks. However this would have been done
for the aesthetic purpose.
Relatability
The relatability of the music video is subjective to the
individual and overall I would say that I conformed and
challenged to this convention. The costumes for the video
were casual and were kept relatable to the audience. The
location of the artist’s bedroom could also be seen as
relatable as many young people would have been in a similar
situation (i.e. singing in their bedroom to their favourite
artists). However the inclusion of the main artist applying
makeup would not apply to most of the male audience and
therefore would mean that the video is unrelatable. I wanted
to challenge this because it would make my product unique
from the rest of the pop genre, allowing my product to stand
out as a piece. Furthermore the inclusion of the Grace Kelly
actress would not apply to younger audiences who would not
understand the references to the actress as they won’t be
aware of who she is. Again, the relatability for ‘Touch’ is
subjective to the individual as the theme of sex depends on
the individuals own experiences. For example, the girls are all
wearing thigh-high boots and body suits that won’t apply to
the everyday viewer. It was important that in my product, the
outfits that are presented in the product relate to what the
audience would wear to make it more appealing. This is why I
chose to have my actor where a jeans and t-shirt
combination.
THEMES
One of the themes of the video was self-expression, a
theme that is not commonly displayed in music videos.
However it could be associated with freedom, a common
theme, which would mean that this convention was
conformed to. Self-expression is presented through the
artist applying make-up as it shows a freedom from
common stereotypes and societal gender roles. This is
also expressed in the shots with the artist wearing make-
up to emulate Grace Kelly and Freddie Mercury. This
shows the conflict in the artist between the identities that
he should present himself and shows him wanting to
present himself in those identities. The main theme of
‘Touch’ is sexual connection, which is expressed in the
methods stated previously. This theme is evocative of
freedom, connecting to the genre and overall showing
that my product is successful. While both themes evoke a
sense of freedom and liberty, they contrast in the level of
sexual connotations that are presented and the amount
of sexualisation that can be present in the product.
Furthermore, while both illustrate the theme of sexuality,
they contrast in the areas of sexuality that they present.
PRODUCT PLACEMENT
As I didn’t want to include a product placement in my
video, this convention was ultimately challenged.
There were a couple of incidental product placements
on beauty products, however this wasn’t enough to
create a proper, and professional product placement.
Furthermore I felt that the inclusion of a product
placement would take away from the overall meaning
of the narrative, almost making the video look cheap.
An example of this would be Katy Perry in her video for
Roar – in which she includes the Nokia Lumia
smartphone. When placing the product in with the
setting, we can see that the product itself does not fit
with the general aesthetic of the video. This creates a
garishly obvious product placement that results in the
meaning behind the video – a sense of animalistic
empowerment – almost pointless as the audience are
focused on the product placement. For this reason
alone, I chose not to conform to this convention.
EDITING
The editing in a pop music video is often fast-paced, upbeat and
keeps the audience engaged. I would say that, for the most part, I
achieved this successfully; however there were some instances that
meant the editing was slowed down for creative effect. For
example during the faster tempo parts of the song rapidly changed
between different shots using jumpcuts. However during the bridge
and the pre-chorus section, the editing was slowed down to match
the tempo of the song and transitions such as cross dissolve were
used to create a melting effect. Quieter moments in the song, such
as the incidental “ahhhs” and “mmmm”s were also kept at a low
opacity to highlight the volume. The editing in ‘Touch’, much like
my product, reflects the pace of the song, which is intense and
slow. Therefore this shows that I have conformed to this
convention.
SETTING
The settings of the video were relatable to both the audience
and the genre. The video was mainly set in the bedroom of
the artist which, as stated before, would allow the video to
relate to the audience as a lot of teenagers spend a great deal
of time in their bedroom as this is where they feel the most
comfortable and able to express themselves like the artist. By
showing the artist expressing themselves in a setting that the
audience would understand, it allows them to relate and
creates a positive image. It would also link to the youth
culture that the music industry often tries to appeal to.
Therefore by including this setting, it appears as an active
creative choice. The dressing table allows the glamour of the
industry and the fun nature of the pop genre to be evoked
while also represents the theme of self-expression. The
studio setting for the Grace Kelly shots makes the video look
industry standard while also relating the video to the genre.
The setting for Little Mix’s video is a studio which, while
doesn’t necessarily relate to the audience, creates an
aesthetic that appeals to the audience and makes the video
memorable. Overall I would say that I conformed to this
convention.
Props
The use of props in my music video was heavily utilised
throughout. Props such as the microphone stand were
used to enhance the appearance of the performance
and add to the idea of make-believe – the artist wants
to perform professionally but feels closeted by his
identity. The use of the make-up props during the shots
of the dressing table – allowing the video to link to the
concept of self-image and identity. This concept was
also evoked using motif props such as the pride flag,
which enforced the videos overall message of sexual
liberty and freedom
As the video for Touch does not have many props used,
relying only on the dance moves of the artists to portray
the theme, the video for Hair would be a more
appropriate comparison. The video shows the girls using
hair products – which could be used to symbolise them
getting rid of the negativity behind the past
relationships. Furthermore the pizza that they eat
earlier on in the video is symbolic of the comfort that
the girls provide as pizza is commonly associated with
comfort eating. Overall I would say that my
DIGIPAK
The codes and conventions that I used and
developed in the digipak were:
 Large eye-catching image on the front.
 The album title
 Tracklist
 Record label
 Barcode
 CD which has the artist name and title on
 Artwork that relates to the artist or song
The digipak employed many of the conventions of the
pop genre that allowed it to be easily identifiable as a
pop piece. The eye-catching image on the front involves
the artist with bright colours in the cascading rainbow
shadow that shows the flamboyant nature of the artists,
relates it back to the genre and represents the theme of
the album of self-expression in the entertainment
industry through LGBT+ imagery. This provides
symbolism of freedom and sexual liberty that the
audience can see through the used of this imagery. In
order to make it stand out, I positioned it at the centre of
the panel. The colour scheme of the Glory Days album
employs a colour scheme that uses more feminine
colours to aim towards the female target audience,
unlike mine which is used to illustrate the theme.
However the overall use of the artist on the front in both
products shows my success in conforming to conventions
of the genre.
The layout of the text on the front cover, with the
artist name at the top of the panel and the name of
the album at the bottom of the panel, allows them
to be noticed by the audience and keeps them the
main focus of the digipak. The font for these two
aspects of the digipak were kept straight and bold to
make them easily legible The large image of the
artist allows the audience to recognise the artist and
establish who the main artist is. It also grabs the
audience’s attention. The track list was positioned
on the left of the panel as this area is the place
where the audience are likely to look first, drawing
their attention to the information. This was stylised
in the same way as the rest of the text to keep
consistency throughout the product and to make it
look more attractive. The black, serif text allows the
text to be legible while also being attractive to the
eye. Contrastingly, the font on the digipak for Glory
Days is pink and jagged, representing freedom.
While it could be argued that this shows failure to
conform, it could present my product as individual.
The logo for the record label – Spotlight Records – was placed
next to the copyright claim so that they can easily be linked
together. The blue neon font allows this aspect of the digipak to
stand out and to link it to the flamboyant nature of video and the
overall pop genre. Overall this convention was conformed to.
The barcode was included to allow the audience to actually
purchase the product, while matching the background of the
product to allow it to blend in. This conventions of the digipak,
was therefore conformed to. The record labels for Little Mix are
used to highlight the success of the artist as they are signed by
Sony and Syco records – big names in the music industry.
This record label and the barcode were systematically placed in
the lower right corner of the panel to ensure that they are
prevalent enough that they are noted by the audience when
purchasing the product. However it was vital that they did not
distract from the main design features of the product. This is why
these features have been positioned in this way.
The CD design, which was intended
to emulate a film reel, had both the
album name and the artist on the
design. This is relevant to the theme
of the product – which revolves
around the entertainment industry
and how the artist fits into it.
Therefore I wanted to choose
universally recognised image that
can relate the theme of the product.
This is why this design was chosen.
In order to conform to this
convention while remaining faithful
to the initial design, I employed it as
part of a label that would normally
go on the front of a film reel when it
is being stored. Overall this allows
for the information to be displayed
without taking away from the overall
effect.
The images throughout the digipak were used to create
continuity throughout the digipak and to sell the artist. In
order to keep it continuous throughout, I kept to the same
rainbow colour scheme. Keeping variety involved changing
the facial expressions of the artists and using a different
design template. This allowed me to sell the artist to the
audience and create a good artists image. For example,
showing the artist with different facial expressions while
employing the same styles has allows for both continuity
and presents the artist in different lights and emotions,
allowing for a better artist image. This somewhat reflects
how other artists present themselves on their album cover,
such as the cover of the Glory Days album with the artists
on front. They have a variety of facial expressions among
them, presenting the different sides to the act.
MAGAZINE ADVERT
The codes and conventions of a magazine advert include:
• The release date
• Album titles
• Image of album cover
• Artist name
• Reviews from other sources
• Information about the album i.e. social media
• Where it is available to purchase
• Record label logo
DUE TO A LACK OF AVAILABILITY OF A MAGAZINE ADVERT FOR THE
ALBUM, I WILL BE USING A POSTER FOR THE GLORY DAYS TOUR AS
COMPARISON
While a specific release date wasn’t included on the
advert, the advert informed the reader that the album
was available to purchase. This was to evoke a sense of
urgency that would entice the reader to buy the album.
For Little Mix’s product, the tour dates take up a vast
majority of the poster, highlighting the importance of
the dates. This, too, conveys a sense of urgency that
forces the audience to purchase the product. From that,
we can see that this poster conforms to the conventions
of the genre. Unlike Little Mix, I did not include a
location of purchase or how to obtain the product on
my poster. As I included that the website on the poster, I
felt that the audience were supplying with enough
information. Furthermore, it would encourage the
audience to actively seek out the product and purchase
the product through the artist’s website – making the
artist more money.
When it came to emulating the album cover
on the magazine, I used the same font for the
album title and the artist name and font
styling. I also employed the same image on the
front cover on my magazine advert. This was
used to draw attention to my product and
make it stand out in a magazine. It also creates
continuity in allow the audience to link the
two ancillary products together and encourage
them to by the advert. The link between the
poster and digipak for Glory Days is also
established through the employment of similar
images and text, showing a clear link between
the two products, thus allowing the product to
be recognisable to the audience. In doing this
with my own product, I have therefore
conformed to the conventions of the magazine
advert.
For my two artist reviews, I chose
two music journalism companies
that had a big influence on the
music industry: MusicWeek and
RollingStone. I felt that these two
companies also allowed for
different age groups to be
represented as they are aimed at
two different demographics. As the
comparative product does not
feature this, it is impossible to
compare. They were included to
entice the audience into buying the
product as they are influenced by
professional opinion, thus proving
that I conformed to this convention.
While most adverts have a specific banner with the album information such as
release date and featured songs, I chose to challenge this convention as it made the
poster look generic rather than professional. However the information was kept on
the same area of the layout to pay homage to this trope. The inclusion of social
media and website links is a fairly modern convention of the magazine advert.
However it is important when linking the product to social media and allowing the
product to be interactive – which would appeal to the younger audience. Therefore, I
included the album’s hashtag and a link to the album’s website to appeal to the
younger audience. However this was kept in small print at the bottom of the screen
in order to prevent it from diverting the audience’s attention from the important
information. Little Mix, with their massive social media following, understandably
have their social media on the bottom of the advert, allowing their young audience
to engage with the discussion and keep updated. Therefore, by keeping up with new
products, I was able to conform to this aspect of the magazine advert.

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Question 1

  • 1. Question 1 - IN WHAT WAYS DOES YOUR MEDIA PRODUCT USE, DEVELOP OR CHALLENGE FORMS AND CONVENTIONS OF REAL MEDIA PRODUCTS? By Holly Morsley
  • 2. Introduction • The media products that I produced during this project is a music video for “Grace Kelly” by Mika, as well as creating appropriate branding by developing a CD digipak and a magazine advert to promote the product. In order to produce a professional, yet unique product, it was vital that some codes and conventions of the genre were both adhered to and challenged. To see how my product achieve this, I will be comparing it to three similar media texts: the advert and digipak for Little Mix – Glory Days album and the music video for the song Touch by Little Mix
  • 4. SEXUALISATIONWhen it came to sexualisation, it was imperative that I did not sexualise either gender in any way as the point of the video was to challenge some of the common tropes of the pop genre. Mise-en-scene was the most important aspect in ensuring that this convention was challenged. The costumes for both the male and female actors kept their dignity and allowed them to look attractive while keeping them neutral. One aspect of the costume’s that may be seen as sexualising is the lipstick worn by the female artist. The colour red often has connotations of passion and sexuality; the boldness also draws attention to her lips. However this aspect of the costume was supposed to emulate the style commonly associated by Grace Kelly . The gestures of the actors made in the music video aim to be extravagant and over-the-top, as one of the themes of the song was drama and performance, rather than being provocative. Nevertheless, the male actor did portray some flirtation by winking at the camera during the video , however this was more for flamboyance rather than sexualisation. This contrasts other media products that contain much more sexualisation, such as the video for Touch which employs skimpy outfits and erotic dance moves to convey the theme of sex. It must be noted that this is more prominent due to the overall theme of the song rather than the genre itself.
  • 5. BRIGHT COLOURS Involving bright colours was something that, which initially was never intended to be in the product, was employed predominantly within the piece. Mise-en-scene was one of the methods that helped involve this feature, mainly props and setting. The gay pride flag allowed for bright colours to be featured within the product while also showing the artist’s support for social movements, which would ultimately improve their public image. It was also used as a costume for the same reasons. Within editing, bright colours were employed as a form of overlay to link with the lyrics (“I could be brown, I could be blue”) and also creating an upbeat feel to the music video. One might argue that, because the colours are somewhat toned down by the overlay, it is still present. This was used in the video for Touch also, with the setting containing bright purples and pinks. However this would have been done for the aesthetic purpose.
  • 6. Relatability The relatability of the music video is subjective to the individual and overall I would say that I conformed and challenged to this convention. The costumes for the video were casual and were kept relatable to the audience. The location of the artist’s bedroom could also be seen as relatable as many young people would have been in a similar situation (i.e. singing in their bedroom to their favourite artists). However the inclusion of the main artist applying makeup would not apply to most of the male audience and therefore would mean that the video is unrelatable. I wanted to challenge this because it would make my product unique from the rest of the pop genre, allowing my product to stand out as a piece. Furthermore the inclusion of the Grace Kelly actress would not apply to younger audiences who would not understand the references to the actress as they won’t be aware of who she is. Again, the relatability for ‘Touch’ is subjective to the individual as the theme of sex depends on the individuals own experiences. For example, the girls are all wearing thigh-high boots and body suits that won’t apply to the everyday viewer. It was important that in my product, the outfits that are presented in the product relate to what the audience would wear to make it more appealing. This is why I chose to have my actor where a jeans and t-shirt combination.
  • 7. THEMES One of the themes of the video was self-expression, a theme that is not commonly displayed in music videos. However it could be associated with freedom, a common theme, which would mean that this convention was conformed to. Self-expression is presented through the artist applying make-up as it shows a freedom from common stereotypes and societal gender roles. This is also expressed in the shots with the artist wearing make- up to emulate Grace Kelly and Freddie Mercury. This shows the conflict in the artist between the identities that he should present himself and shows him wanting to present himself in those identities. The main theme of ‘Touch’ is sexual connection, which is expressed in the methods stated previously. This theme is evocative of freedom, connecting to the genre and overall showing that my product is successful. While both themes evoke a sense of freedom and liberty, they contrast in the level of sexual connotations that are presented and the amount of sexualisation that can be present in the product. Furthermore, while both illustrate the theme of sexuality, they contrast in the areas of sexuality that they present.
  • 8. PRODUCT PLACEMENT As I didn’t want to include a product placement in my video, this convention was ultimately challenged. There were a couple of incidental product placements on beauty products, however this wasn’t enough to create a proper, and professional product placement. Furthermore I felt that the inclusion of a product placement would take away from the overall meaning of the narrative, almost making the video look cheap. An example of this would be Katy Perry in her video for Roar – in which she includes the Nokia Lumia smartphone. When placing the product in with the setting, we can see that the product itself does not fit with the general aesthetic of the video. This creates a garishly obvious product placement that results in the meaning behind the video – a sense of animalistic empowerment – almost pointless as the audience are focused on the product placement. For this reason alone, I chose not to conform to this convention.
  • 9. EDITING The editing in a pop music video is often fast-paced, upbeat and keeps the audience engaged. I would say that, for the most part, I achieved this successfully; however there were some instances that meant the editing was slowed down for creative effect. For example during the faster tempo parts of the song rapidly changed between different shots using jumpcuts. However during the bridge and the pre-chorus section, the editing was slowed down to match the tempo of the song and transitions such as cross dissolve were used to create a melting effect. Quieter moments in the song, such as the incidental “ahhhs” and “mmmm”s were also kept at a low opacity to highlight the volume. The editing in ‘Touch’, much like my product, reflects the pace of the song, which is intense and slow. Therefore this shows that I have conformed to this convention.
  • 10. SETTING The settings of the video were relatable to both the audience and the genre. The video was mainly set in the bedroom of the artist which, as stated before, would allow the video to relate to the audience as a lot of teenagers spend a great deal of time in their bedroom as this is where they feel the most comfortable and able to express themselves like the artist. By showing the artist expressing themselves in a setting that the audience would understand, it allows them to relate and creates a positive image. It would also link to the youth culture that the music industry often tries to appeal to. Therefore by including this setting, it appears as an active creative choice. The dressing table allows the glamour of the industry and the fun nature of the pop genre to be evoked while also represents the theme of self-expression. The studio setting for the Grace Kelly shots makes the video look industry standard while also relating the video to the genre. The setting for Little Mix’s video is a studio which, while doesn’t necessarily relate to the audience, creates an aesthetic that appeals to the audience and makes the video memorable. Overall I would say that I conformed to this convention.
  • 11. Props The use of props in my music video was heavily utilised throughout. Props such as the microphone stand were used to enhance the appearance of the performance and add to the idea of make-believe – the artist wants to perform professionally but feels closeted by his identity. The use of the make-up props during the shots of the dressing table – allowing the video to link to the concept of self-image and identity. This concept was also evoked using motif props such as the pride flag, which enforced the videos overall message of sexual liberty and freedom As the video for Touch does not have many props used, relying only on the dance moves of the artists to portray the theme, the video for Hair would be a more appropriate comparison. The video shows the girls using hair products – which could be used to symbolise them getting rid of the negativity behind the past relationships. Furthermore the pizza that they eat earlier on in the video is symbolic of the comfort that the girls provide as pizza is commonly associated with comfort eating. Overall I would say that my
  • 13. The codes and conventions that I used and developed in the digipak were:  Large eye-catching image on the front.  The album title  Tracklist  Record label  Barcode  CD which has the artist name and title on  Artwork that relates to the artist or song
  • 14. The digipak employed many of the conventions of the pop genre that allowed it to be easily identifiable as a pop piece. The eye-catching image on the front involves the artist with bright colours in the cascading rainbow shadow that shows the flamboyant nature of the artists, relates it back to the genre and represents the theme of the album of self-expression in the entertainment industry through LGBT+ imagery. This provides symbolism of freedom and sexual liberty that the audience can see through the used of this imagery. In order to make it stand out, I positioned it at the centre of the panel. The colour scheme of the Glory Days album employs a colour scheme that uses more feminine colours to aim towards the female target audience, unlike mine which is used to illustrate the theme. However the overall use of the artist on the front in both products shows my success in conforming to conventions of the genre.
  • 15. The layout of the text on the front cover, with the artist name at the top of the panel and the name of the album at the bottom of the panel, allows them to be noticed by the audience and keeps them the main focus of the digipak. The font for these two aspects of the digipak were kept straight and bold to make them easily legible The large image of the artist allows the audience to recognise the artist and establish who the main artist is. It also grabs the audience’s attention. The track list was positioned on the left of the panel as this area is the place where the audience are likely to look first, drawing their attention to the information. This was stylised in the same way as the rest of the text to keep consistency throughout the product and to make it look more attractive. The black, serif text allows the text to be legible while also being attractive to the eye. Contrastingly, the font on the digipak for Glory Days is pink and jagged, representing freedom. While it could be argued that this shows failure to conform, it could present my product as individual.
  • 16. The logo for the record label – Spotlight Records – was placed next to the copyright claim so that they can easily be linked together. The blue neon font allows this aspect of the digipak to stand out and to link it to the flamboyant nature of video and the overall pop genre. Overall this convention was conformed to. The barcode was included to allow the audience to actually purchase the product, while matching the background of the product to allow it to blend in. This conventions of the digipak, was therefore conformed to. The record labels for Little Mix are used to highlight the success of the artist as they are signed by Sony and Syco records – big names in the music industry. This record label and the barcode were systematically placed in the lower right corner of the panel to ensure that they are prevalent enough that they are noted by the audience when purchasing the product. However it was vital that they did not distract from the main design features of the product. This is why these features have been positioned in this way.
  • 17. The CD design, which was intended to emulate a film reel, had both the album name and the artist on the design. This is relevant to the theme of the product – which revolves around the entertainment industry and how the artist fits into it. Therefore I wanted to choose universally recognised image that can relate the theme of the product. This is why this design was chosen. In order to conform to this convention while remaining faithful to the initial design, I employed it as part of a label that would normally go on the front of a film reel when it is being stored. Overall this allows for the information to be displayed without taking away from the overall effect.
  • 18. The images throughout the digipak were used to create continuity throughout the digipak and to sell the artist. In order to keep it continuous throughout, I kept to the same rainbow colour scheme. Keeping variety involved changing the facial expressions of the artists and using a different design template. This allowed me to sell the artist to the audience and create a good artists image. For example, showing the artist with different facial expressions while employing the same styles has allows for both continuity and presents the artist in different lights and emotions, allowing for a better artist image. This somewhat reflects how other artists present themselves on their album cover, such as the cover of the Glory Days album with the artists on front. They have a variety of facial expressions among them, presenting the different sides to the act.
  • 20. The codes and conventions of a magazine advert include: • The release date • Album titles • Image of album cover • Artist name • Reviews from other sources • Information about the album i.e. social media • Where it is available to purchase • Record label logo DUE TO A LACK OF AVAILABILITY OF A MAGAZINE ADVERT FOR THE ALBUM, I WILL BE USING A POSTER FOR THE GLORY DAYS TOUR AS COMPARISON
  • 21. While a specific release date wasn’t included on the advert, the advert informed the reader that the album was available to purchase. This was to evoke a sense of urgency that would entice the reader to buy the album. For Little Mix’s product, the tour dates take up a vast majority of the poster, highlighting the importance of the dates. This, too, conveys a sense of urgency that forces the audience to purchase the product. From that, we can see that this poster conforms to the conventions of the genre. Unlike Little Mix, I did not include a location of purchase or how to obtain the product on my poster. As I included that the website on the poster, I felt that the audience were supplying with enough information. Furthermore, it would encourage the audience to actively seek out the product and purchase the product through the artist’s website – making the artist more money.
  • 22. When it came to emulating the album cover on the magazine, I used the same font for the album title and the artist name and font styling. I also employed the same image on the front cover on my magazine advert. This was used to draw attention to my product and make it stand out in a magazine. It also creates continuity in allow the audience to link the two ancillary products together and encourage them to by the advert. The link between the poster and digipak for Glory Days is also established through the employment of similar images and text, showing a clear link between the two products, thus allowing the product to be recognisable to the audience. In doing this with my own product, I have therefore conformed to the conventions of the magazine advert.
  • 23. For my two artist reviews, I chose two music journalism companies that had a big influence on the music industry: MusicWeek and RollingStone. I felt that these two companies also allowed for different age groups to be represented as they are aimed at two different demographics. As the comparative product does not feature this, it is impossible to compare. They were included to entice the audience into buying the product as they are influenced by professional opinion, thus proving that I conformed to this convention.
  • 24. While most adverts have a specific banner with the album information such as release date and featured songs, I chose to challenge this convention as it made the poster look generic rather than professional. However the information was kept on the same area of the layout to pay homage to this trope. The inclusion of social media and website links is a fairly modern convention of the magazine advert. However it is important when linking the product to social media and allowing the product to be interactive – which would appeal to the younger audience. Therefore, I included the album’s hashtag and a link to the album’s website to appeal to the younger audience. However this was kept in small print at the bottom of the screen in order to prevent it from diverting the audience’s attention from the important information. Little Mix, with their massive social media following, understandably have their social media on the bottom of the advert, allowing their young audience to engage with the discussion and keep updated. Therefore, by keeping up with new products, I was able to conform to this aspect of the magazine advert.